Veronica Chapa's Malinalli: A Story of Growth on Two Fronts (Book Review by Gilbert Areizaga)

Malinalli (Simon & Schuster, 2025) is the debut novel of Mexican American essayist and copyeditor Veronica Chapa. It is a fantasy story based on the real historical figure, Malinalli, more commonly known as “La Malinche”, an indigenous woman who served as the translator and intermediary for Spanish Conquistador Hernán Cortés. This novel is a part of a long list of literature that attempts to humanize Malinalli, who due to her role in the conquest, is often portrayed as an opportunistic traitor, particularly in Mexico.

Veronica Chapa's debut novel Malinalli (2025), out now.

Chapa places us at the very beginning of Malinalli’s life, where she is raised side by side with her brother Eagle. Eagle is eventually sent to the House of Magical Studies in Tenochtitlan, where he is mysteriously murdered. Their father not too long afterward meets the same fate. This prompts Malinalli’s mother to send her daughter to a temple, where Malinalli’s journey as a magical priestess, a slave, and Cortés’ translator begins. Throughout the novel, Malinalli comes into her own power, growing stronger despite the challenges she faces. While the execution has some chinks in its armor, in Chapa’s hands,

Malinalli is more than just a “prostitute” as famed Mexican writer Carlos Fuentes called her, or just a victim. Instead, Chapa provides Malinalli a compelling, humanizing narrative, with well thought out themes.

The story takes place in a Mexico where the gods and magic of the Aztecs are real, and Malinalli is born just a few short years before the conquest turns that world upside down. The lifeblood of this narrative is its theme of taking ownership—with Malinalli growing into herself as she experiences life. From the beginning of the novel, Malinalli's identity is in question. She, along with her brother, are fated to have miserable lives by the town’s Calendar Priest, a seer who tells the fate of children upon their birth. This prompts the parents to change the names of both of his children: “Committed to improving our fate... they changed the moment of my brother’s entry into the world so he could take the day-sign name Eagle, Cuauhtli. To shield me from my fate, my father decreed me Malinalxochitl.”

In their culture, Malinalxochitl is a sorceress and a goddess, feared by all the people in Malinalli’s village as a vengeful spirit equal to the war god. Consequently, like the real figure, Malinalli’s own people shun her. Despite this view, Malinalli admired Malinalxochitl greatly-- so much so that she wanted not just to be like the sorceress, but to become her. However, when Eagle is sent to study magic instead of her, Malinalli questions herself:

“Where do the goddesses and sorceresses develop their crafts? The women magicians who heal hearts, divine fortunes, and conjure universes? Is there a place for us, for me, in this world?”

This doubt follows Malinalli during her time as a young sorceress, where she questions if she can live up to the name Malinalxochitl. Doubt is with her while she is kidnapped and forced to be a slave, where the ridicule and objectification could end if only she had the weapons of Malinalxochitl. Doubt follows her in battles, where if she were more like Malinalxochitl, then her magic would always flow exactly as she intended. However, with every battle won, every war she postpones, and every person she saves, she becomes more and more confident in her abilities. As she assumes the role of warrior, translator, or otherwise, she embraces the role, at one point saying, “Now I—Malinalli, Mali, Malintzin, Doña Marina, daughter of Jade Feather and Speaking Cloud, priestess of the Temple of the Eighteen Moons, Malinalxochitl, a sorceress in more than name—spoke for empires.” Instead of portraying Malinalli as a victim of her life’s circumstances, Chapa narrates Malinalli’s growth and choices. This newfound confidence allows Malinalli to stand her ground in the face of her foes, giving her friends and people a fighting chance.

The book itself is arranged in seven parts including an epilogue.  As this novel is a relatively quick read, this structure aids the reader in following the narrative. The structure of this novel also aids it in one of its biggest downfalls: the pacing. The novel starts well, with the early parts having a steady progression toward each plot point.

However, in a latter part, three whole years of Malinalli’s life are thrown at the reader. This includes several new plotlines, new characters, and reintroductions of old characters. For example, the Spaniards finally arrive, and a huge battle ensues. In what feels like five minutes after the battle’s conclusion, a minor character mentioned once earlier drops in with information about Eagle. It’s jarring, and the book does not slow down until much later, which doesn’t allow the reader to digest these momentous events. Additionally, new plot points are added into the story until the very end. The number of plot points, along with the pacing, makes the story overwhelming, and as a result moments that are meant to be meaningful end up feeling flat.

Still, the strong parts of this book stand taller than the weak ones. This novel takes on the hefty task of humanizing a woman who has been the subject of great hatred throughout history. The reader grows with Malinalli, and watches her not only become confident, but a formidable foe to those that threaten the people she cares about.

Chapa tells a new story for Malinalli, creating an environment where Malinalli has a chance to show herself in a way that history has not afforded her.

This novel is not perfect. However, much like Malinalli herself, Chapa shows promise as a novelist who with time to grow into her voice can flourish as an author.

Veronica Chapa is an author, essayist, and copywriter. More about the author here.